Three Dog Night - Seven Separate Fools [Japan Ed.] (1972)

Year: July 1972 (CD Apr 24, 2013)
Label: Universal Music (Japan), UICY-7556
Style: Pop Rock, Soft Rock
Country: Los Angeles, California, U.S.
Time: 41:42
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Seven Separate Fools is the eighth studio album by American rock band Three Dog Night. Released in 1972, the album reached number six on the US Billboard 200, becoming the band's highest-charting album. The LP version of the album was released with seven large playing cards (each nearly 12 inches in height) as an extra bonus.
Beach Boys founder Brian Wilson, who contributed "Time to Get Alone" to the pre-TDN vocal trio Redwood, placed the LP at No. 3 among his all-time Top Ten favorite records in a 2016 conversation with Esquire's Middle East branch. Wilson succinctly stated, "Danny Hutton’s vocals are truly on point."
(en.wikipedia.org/wiki/Seven_Separate_Fools)

01. Black And White (03:51)
02. My Old Kentucky Home (03:10)
03. Prelude To Morning (02:04)
04. Pieces Of April (04:10)
05. Going To Circles (03:05)
06. Chained (05:14)
07. Tulsa Turnaround (03:41)
08. In Bed (03:58)
09. Freedom For The Stallion (03:41)
10. The Writings On The Wall (03:17)
11. Midnight Runaway (05:26)

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Various Artists - Backtrack 7 [Vinyl Rip] (1970)

Year: 1967-1970 (LP 1970)
Label: Track Record (UK), 2407 007
Style: Rock
Country: Various
Time: 39:37
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

The third in the Backtrack series collections of archetypal U.K. psych 45s, all drawn from the Track Records archive, Backtrack 7 was released in November 1970, just six weeks after the death of the label's biggest name -- Jimi Hendrix, of course -- and well placed to soak up some of the attendant grief. Three Hendrix numbers appear, the album cuts "The Stars That Play With Laughing Sam's Dice" and "Long Hot Summer Night," and the Curtis Knight collaboration "How Would You Feel," a skillful rewrite of Dylan's "Like a Rolling Stone" that crept out as a Track 45 during 1967. The remainder of the set, too, seems intent on giving great value for the money. No less than three of its tracks had been summertime hit singles: the Who's "The Seeker" (present with its non-LP B-side, "Here for More"), Thunderclap Newman's "Accidents" (shorn and edited from the nine-minute drama that highlighted their album, but nonetheless astonishing for all that), and Marsha Hunt's version of Paul Simon's "Keep the Customer Satisfied." Less successful offerings from Arthur Brown and the absurdly underrated Bent Frame join another cut by Thunderclap Newman, while the collection wraps up by acknowledging Marc Bolan's recent rise to fame and throwing in a little nugget for his fans to drool over -- an (uncredited) appearance alongside Marsha Hunt on her spellbinding version of his own "Hippy Gumbo."
(AllMusic Review by Dave Thompson)

01. A1 How Would You Feel (Jimi Hendrix and Curtis Knight) (03:16)
02. A2 Hippy Gumbo (Marsha Hunt) (03:00)
03. A3 It's Only Me (Bent Frame) (03:24)
04. A4 The Seeker (The Who) (03:16)
05. A5 I See It All (Thunderclap Newman) (02:49)
06. A6 Keep The Customer Satisfied (Marsha Hunt) (02:59)
07. B1 Summertime Blues (The Who) (03:25)
08. B2 What's Happening (The Crazy World Of Arthur Brown) (03:11)
09. B3 Long Hot Summer Night (Jimi Hendrix) (03:30)
10. B4 Accidents (Thunderclap Newman) (03:53)
11. B5 Here For More (The Who) (02:29)
12. B6 Stars That Play With Laughing Sam's Dice (Jimi Hendrix) (04:19)

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Eric Burdon & War (The Animals) - Eric Burdon Declares "War" [Vinyl Rip.] (1970)

Year: April 1970 (LP 1970)
Label: MGM Records (US), SE-4663
Style: Rock, R&B, Funk, Soul
Country: Newcastle upon Tyne, England (11 May 1941)
Time: 42:21
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

A classic album that stands in stark contrast to Burdon's earlier string of agonizingly insincere solo albums. Burdon's heart-felt English blues vocals and alternately political and hallucinatory lyrics ("The Vision Of Rassan") finally find a perfect match with War's jazzy saxophone, Latin-influenced rhythm section, and understated approach. Most of the record consists of three long, enjoyable jams ("Blues For Memphis Slim") - but it's punctuated with the spacey, irresistably danceable A-side "Spill The Wine," which reuses Burdon's "Tobacco Road" gimmick of narrating a daydream, but even more effectively. The production is sparse and the sound often not very different from traditional Chicago blues, which creates the feel of a tight and professional live performance: on track after track, the band finds a good groove and stays with it. (JA)
(warr.org/war.html)
Matrix - side A: SE 4663-A-RE2 MGS-2136 JcS; side B: SE4663-B-RE-2 MGS-2137 SE4663-B-RE2

01. A1 The Vision Of Rassan (07:41)
02. A2 Tobacco Road (13:11)
03. B1 Spill The Wine (04:53)
04. B2 Blues For Memphis Slim (13:30)
05. B3 You're No Stranger (03:03)

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Moody Blues - A Question Of Balance [6 bonus tracks] (1970)

Year: 7 August 1970 (CD 2008)
Label: Threshold Records (Europe), 530 662-6
Style: Symphonic Rock, Art Rock
Country: Birmingham, England
Time: 64:11
Format: Flac Tracks 16/44,1 kHz
Size: 414 Mb

Charts: UK #1, AUS #2, CAN #3, NLD #8, NOR #5, US #3. CAN & US: Platinum.
By 1970, the Moody Blues were an established name in the British canon of progressive rock, and well on their way to crossing the Atlantic, too. Their sophomore release, 1967's Days of Future Passed, helped put prog into the mainstream, and has been lauded as one of the first successful concept albums. On the Threshold of a Dream, released two years later, was a UK number one, and broke the Top 20 in the States.
Fast forward to the start of the 1970s, and the Moodies - as they're often known, led by guitarist and songwriter, Justin Hayward - put out A Question of Balance, one of their most popular to this day. Featuring a more stripped-back approach to the lavish experimentalism of the group's first five albums, it still sees the progressive flame burning, with delicious fusions of Beatles-esque pop and latter-day psychedelia.
The prominent single of the album - it's opener - is 'Question', one of the Blues' most well-known works. It provides a galloping backbeat set to deliciously 50s' guitar. It's a more-than-punchy introduction to one of prog rock's masterpieces and sets the scene for the rest of the album, one that deals with the human dichotomy of love and hate.
It's important to note that the album plays out like a full story, albeit one masked in a fever dream. Not only do the tracks bleed into one another, but they each share those classic elements that make up the Moodies' defining sound. In 'Don't You Feel Small', hushed backing vocals (from songwriter/drummer Graeme Edge) and images of cosmic insignificance bubble up from the ether. It's one of the more experimental tunes on the record, bursting into a mighty chorus with shades of Phil Spector.
A Question of Balance has its fair share of staple rock, though, for instance in the opener to side two, 'It's Up to You' - sporting a crunchy riff and remaining one of the strongest tracks on here. It's an old-fashioned rocker, with the mystique of 'The Minstrel's Song' proving a more complex tonic. This one's full of Beastles-y jaunt, bards and springtime plains.
It's not an album without imperfection, however. 'Dawning is the Day' is one of A Question…'s more forgettable numbers, never really getting past that tired-out message of lovable hippies. But what comes next is one of the Moody Blues' best and without a doubt, the centrepiece of the album. 'Melancholy Man' brings us down from the joyous dawn, plunging into this haunting ballad of a depressed, despair-consumed individual. For five minutes, we descend deeper into a veritable hellscape full of 'angry voices on the wind'. It's pure prog paradise.
'The Balance', the album's finale, closes the circuit in true, progressive rock fashion. The story comes to an end, returning to the issue of opening your mind and seeing what a better outlook can bring. Beauteous harmonies and string arrangements take us out with one final, delicate bow.
A Question of Balance, like many albums of the late '60s and early '70s, is somewhat of a pessimistic one. It opens and closes with this idea of questioning why humanity always seeks to destroy eachother. In a society increasingly ruled by political division - still living in the shadow of war - it's not hard to see why. The Moody Blues' enchanting, yet world-weary verses, are effortlessly resonant.
And yet, as the title implies, it really is a matter of bringing dark to the light. Of reminding people to treat eachother kindly, and to keep in mind that evil does not always prevail. Wrapped up in fierce, acoustic licks and wonderfully over-the-top production, it's a cryptic record at times. And yet, absolutely, a classic, half a century on.
(splendidfredmagazine.com/2022/08/21/voices-on-the-wind-the-moody-blues-a-question-of-balance-reviewed-by-jacob-wingate-bishop/)

01. Question (05:44)
02. How Is It (We Are Here) (02:45)
03. And the Tide Rushes In (02:56)
04. Don't You Feel Small (02:38)
05. Tortoise and the Hare (03:19)
06. It's Up to You (03:11)
07. Minstrel?s Song (04:27)
08. Dawning Is the Day (04:21)
09. Melancholy Man (05:45)
10. The Balance (03:33)
11. Mike's Number One (03:36)
12. Question (alternate version) (06:08)
13. Minstrel?s Song (original mix) (04:37)
14. It's Up to You (original mix) (03:22)
15. Don?t You Feel Small (original mix) (03:03)
16. Dawning Is the Day (full original mix) (04:38)

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Gnidrolog - Lady Lake (1972)

Year: December 1972 (CD 2004)
Label: Second Life Records (Russia), SLCD-015
Style: Progressive Rock, Art Rock
Country: London, England
Time: 38:31
Format: Flac Tracks 16/44,1 kHz
Size: 231 Mb

The band was founded in 1969 by twin brothers Colin and Stewart Goldring, who were joined by drummer Nigel Pegrum from Spice and Peter "Mars" Cowling on bass. John Earle joined the band on saxophone and flute for their second album. They came up with the band name by reversing and slightly rearranging the brothers' surname, adding in an extra "o". In May 1972, the British music magazine NME reported that Gnidrolog was to appear at the Great Western Express Lincoln Festival on 26 May that year, along with Budgie, Skin Alley, Tea & Symphony, John Martyn, and Warhorse. In 1972, Gnidrolog released both their first and second albums, In Spite of Harry's Toe-Nail and Lady Lake, before disbanding due to a lack of commercial success. Despite having played gigs with acts such as David Bowie, Colosseum, King Crimson, Gentle Giant, Wishbone Ash, Soft Machine, and Magma in their brief career, they have always remained relatively obscure.
Cowling began a long working relationship with Pat Travers in 1975.
After disbanding, Nigel Pegrum joined Steeleye Span, while the Goldring brothers formed the punk rock band the Pork Dukes in 1976, and later went on to do session work, as did other members. After a break of 27 years, they got back together in 1999, and released their third studio album, Gnosis, in 2000. John "Irish" Earle went on to be a successful musician, playing with artists such as Thin Lizzy, Ian Dury and the Clash.
Lady Lake is the second studio album of the British progressive rock band, Gnidrolog. The songs in the album deal with a variety of concepts varying from pacifism in "I Could Never Be a Soldier", to pilgrimage in "Ship", and Tchaikovsky's Swan Lake in the title track, "Lady Lake". The band broke up shortly after the album was released due to lack of commercial success, but would eventually release a third, live, album in 1999 - recorded in 1972.
(en.wikipedia.org/wiki/Gnidrolog)

01. I Could Never Be A Soldier (11:35)
02. Ship (06:41)
03. A Dog With No Collar (02:08)
04. Lady Lake (08:50)
05. Same Dreams (02:47)
06. Social Embarrassment (06:29)

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Yes - Fragile [6 bonus tracks] (1971)

Year: 12 November 1971 (CD November 6, 2015)
Label: Panegyric Records (UK), GYRBD50009
Style: Symphonic Rock
Country: London, England
Time: 64:36
Format: Flac Tracks 16/44,1 kHz
Size: 364 Mb

Fragile, the fourth album by Yes is really a bridge between its rock-influenced predecessor, The Yes Album, and the nearly pure prog albums which would follow. The album features four tracks of full band performances, three of which were of eight minutes length or longer interspersed by five short tracks each showcasing an individual member of the band. This approach makes for a very interesting and dynamic mix as some laid back and introspective, individual tracks give way to a much bolder, harder, and more aggressive style of playing by the band as a whole during the full-lineup extended tracks.
The album was recorded in September 1971 and co-produced by Eddy Offord, who worked on most of the band’s earliest material. During the recordings there was a major lineup change, reportedly due to keyboardist Tony Kaye’s refusal to embrace the Moog synthesizer and stick exclusively to the Hammond organ. Kaye was replaced by Rick Wakeman. Often using as many as a dozen keyboards on stage, Wakeman added a bit flair to the band’s performance and completed the picture of their classic lineup.
More than any other album, Fragile is an absolute showcase for bassist Chris Squire, who also happens to be the only person to appear on every Yes album (a band known for constant lineup shifting). Squire may have been the first to truly bring this instrument, which is normally buried in the low end of the mix, to the forefront and in unique and inventive ways. Although the album was released in November 1971 in the UK, it was held over until January 1972 across the Atlantic, because there was still chart momentum for The Yes Album in the states.
Full version: (classicrockreview.com/2012/12/1972-yes-fragile/)

01. Roundabout (08:33)
02. Cans & Brahms (01:40)
03. We Have Heaven (01:39)
04. South Side of the Sky (08:00)
05. Five Percent for Nothing (00:36)
06. Long Distance Runaround (03:31)
07. The Fish (02:38)
08. Mood for a Day (02:58)
09. Heart of the Sunrise (11:39)
10. Roundabout (rehearsal take, early mix) (08:08)
11. We Have Heaven (full version, Steven Wilson mix) (02:21)
12. South Side of the Sky (early version, Steven Wilson mix) (05:12)
13. All Fighters Past (Steven Wilson mix) (02:32)
14. Mood for Another Day (prev. unreleased take) (03:04)
15. We Have Heaven (acapella, Steven Wilson mix) (02:00)

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Arabesque (Sandra) - Arabesque [Vinyl Rip. Russian Ed. Compilation] (1983)

Year: 1980-1983 (LP 1984 ?)
Label: Melodia Records (Russia), C60 20963 008
Style: Pop, Disco
Country: Frankfurt, Germany
Time: 35:16
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

Arabesque was an all-girl trio formed at the height of the European disco era in 1977 in Frankfurt, Germany. The group's changing lineup worked with the German composer Jean Frankfurter (Erich Lie?mann) and became especially popular in Japan and the USSR.
In 1975, children's music singer Mary Ann Nagel proposed a girl group to producer Wolfgang Mewes, who accepted. Two additional members were recruited through a song contest. An Englishwoman (Karen Ann Tepperis), a German-Mexican (Michaela Rose), and a German (Mary Ann Nagel) comprised the initial group.
After the first album, the band lineup changed by keeping only the original member Michaela Rose, while replacing the two other girls, Karen Ann Tepperis and Mary Ann Nagel, with new members Jasmin Vetter and Heike Rimbeau, respectively. Nagel was replaced due to her becoming tired of the long daily commute from Karlsruhe to Frankfurt am Main, where the group was based. Tepperis was replaced due to the fact that she was pregnant and could not go on tour. The surprising overnight success of Hello Mr. Monkey in Japan prompted the producers to schedule an immediate tour to Japan. The duration of Heike Rimbeau in the group was also short-lived; due to her pregnancy in 1978, she was briefly substituted with Elke Bruckheimer. This German country singer appeared only in a few live performances during the year 1979. However, shortly afterward, she too was replaced by Sandra Lauer. Lauer had previously attended the Young Star Music contest in 1975, where she achieved a record deal and released the song "Andy mein Freund" ("My Friend Andy").
In 1979, at age 17, Lauer was invited to become the lead singer of Arabesque. The trio (Lauer, Vetter, Rose) would remain in this lineup from 1979 until their split in 1984.
Members: Jasmin Vetter, Michaela Rose, Sandra Lauer

01. A1 In For A Penny, In For A Pound (03:02)
02. A2 Don't Fall Away From Me (03:39)
03. A3 I Stand By You (03:50)
04. A4 Zanzibar (03:44)
05. A5 Born To Reggae (03:32)
06. B1 Billy's Barbeque (02:51)
07. B2 Young Fingers Get Burnt (03:12)
08. B3 Caballero (04:03)
09. B4 Blackout (03:31)
10. B5 The End Of The Show (04:20)

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Fleetwood Mac - Fleetwood Mac (Peter Green's Fleetwood Mac) (1968)

Year: February 1968 (CD 199?)
Label: Rewind Records (Austria), 477358 2
Style: Blues Rock, Rock
Country: London, England
Time: 35:47
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

When John Mayall formed the Bluesbreakers it was out of respect and admiration to those performers; and he's stayed with the blues, cultivating a number of fine young blues musicians including guitarists Eric Clapton and Peter Green. After Clapton left Mayall, moving on to form Cream, Peter Green replaced him. Now Green has formed his own group, Fleetwood Mac (along with another former Bluesbreaker, bassist John McVie).
Whereas Clapton expanded onto new horizons with Cream, Green has chosen to remain dedicated to the blues, and on this, their first recorded effort, Fleetwood Mac have established themselves as another tight English blues band - joining Mayall's Bluesbreakers, Ten Years After and Savoy Brown as chief practitioners of blues in England.
Green, like Mayall, has studied the records and performances of Howlin' Wolf, Memphis Slim, Junior Wells and Elmore James carefully. The piano riffs on "Hellbound on My Trail" are lifted directly from Slim's classic "If You See Kay," but it's done well, if perhaps a little too self-consciously. Fleetwood Mac (the name is a combination of the names of members of the group), know what they're doing, they dig the music they're playing and that's great - but the drawback here is that they don't put enough of themselves into it instead of what they've heard from the original artists.
Green is a more than competent guitar player, and the Mac's treatment of "Shake Your Moneymaker" is just as powerful as the first Butterfield version (on the Paul Butterfield Blues Band album). The harp work is proficient in most places but rather weak on "Got to Move," the old Sonny Boy Williamson song. Green's composition "Long Grey Mare" is one of the best cuts on the album, anchored by McVie's strong bass line. The record has a strange, prematurely vintage (if there can be such a thing) sound to it, like an old classic recording made in the late Forties or early Fifties.
Like most modern white bluesmen, Fleetwood Mac try very hard to live the kind of music they play - not picking cotton in the Delta, but maintaining the hard-life blues tradition, gigging at small clubs in Northern England and in scruffy halls in the East End. Their music retains an unaffected rough quality. They play well, and if it sounds a little scratchy at times it's because that's the way they happen to feel at that particular moment. The licks they've copied from other performers are natural enough - it's more of a tribute than an imitation.
The English continue to prove how well into the blues they really are, and know how to lay it down and shove it back across the Atlantic. Fleetwood Mac are representative of how far the blues has penetrated - far enough for a group of London East-Enders to have cut a record potent enough to make the South Side of Chicago take notice.
(rollingstone.com/music/music-album-reviews/peter-greens-fleetwood-mac-248342/) Review by Barry Gifford. August 10, 1968

01. My Heart Beat Like A Hammer (03:00)
02. Merry Go Round (04:11)
03. Long Grey Mare (02:17)
04. Hellhound On My Trail (02:01)
05. Shake Your Moneymaker (02:57)
06. Looking For Somebody (02:54)
07. No Place To Go (03:24)
08. My Baby's Good To Me (02:52)
09. I Loved Another Woman (02:58)
10. Cold Black Night (03:18)
11. The World Keep On Turning (02:31)
12. Got To Move (03:19)

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Phil Manzanera (Roxy Music) - Guitarissimo 75-82 [Compilation] (1986)

Year: 1975-1982 (CD 1986)
Label: EG Records (US), EGCD 69
Style: Pop, Pop Rock
Country: London, England (31 January 1951)
Time: 72:23
Format: Flac Tracks 16/44,1 kHz
Size: 443 Mb

Phil Manzanera was the guitarist for Roxy Music, and ventured out on his own in the mid-70s. This is a compilation album covering the years from 1975-82. I've owned this CD for years, but forgot about it. Today I converted it to FLAC files and giving it a listen I was absolutely blown away. The music is as fresh as if it was released today, and the production (done by Manzanera himself) is top notch-the recordings are crystal clear, and sound much better than the compressed music frequently issued today
His co-musicians supporting him her include many luminaries, such as Brian Eno, Tim Finn Robert Wyatt and Dave Mattacks. And Beatles fan be sure to listen to TNK (Tomorrow Never Knows) one of the best Beatles covers I've ever heard.
(amazon.com/GUITARISSIMO-PHIL-MANZANERA/dp/B0046R7FKG) Reviewed in the United States on October 9, 2021

01. K-Scope (02:55)
02. Frontera (04:02)
03. Tnk (06:23)
04. Criollo (05:16)
05. Diamond Head (04:25)
06. You Are Here (01:50)
07. Rude Awakening (01:40)
08. Listen Now (08:09)
09. Caracas (04:22)
10. Lagrima (02:34)
11. Europe 70-1 (03:22)
12. Island (05:03)
13. That Falling Feeling (04:58)
14. Big Dome Pt 1 (03:08)
15. City Of Light (07:01)
16. Initial Speed (04:28)
17. Big Dome Pt 2 (02:39)

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Paul McCartney - McCartney [Japan Ed.] (1970)

Year: 17 April 1970 (CD Nov 8, 1995)
Label: Toshiba Records (Japan), TOCP-3124
Style: Rock, Pop Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 35:03
Format: Flac Tracks 16/44,1 kHz
Size: 179 Mb

Charts: UK #2, AUS #3, GER #15, NLD #3, NOR #2, SWE #2, US #1. CAN: Platinum; US: 2x Platinum.
McCartney is an album that wants desperately to convince. Its explicit and uniform message is that Paul McCartney, his wife Linda and family have found peace and happiness in a quiet home away from the city and away from the hassle of the music business. This is a beautiful vision and, like most listeners, I wanted very much to believe it was true. On the basis of the music alone I was entirely persuaded. The 14 cuts on McCartney are masterful examples of happiness, relaxation and contentment.
Unfortunately, there is more to this album than just music. Accompanying the release of McCartney was a mass of external information — all of it coming directly from Paul himself — which casts real doubt on the beautiful picture which the songs create. The album jacket with dozens of family snapshots proclaims that Paul and Linda have found peace and happiness in a way that seems redundant and overdone. Numerous stories in the world press made the same message a headline event just three days before the album went on sale — PAUL AND LINDA FIND HAPPINESS AWAY FROM THE BEATLES. Last week’s Ed Sullivan Show announced that "Paul McCartney would introduce his new record for the American audience." As millions of viewers tuned in, the show flashed more pictures of the happy family on the screen while one of the songs from the album played in the background. It was not convincing.
Paul played everything on the record himself, apart from some backing vocals by Linda, recording much of it at home on a four-track. No singles were released, there are several instrumentals, and it's all a bit ramshackle, the type of album that in the hands of most musicians would lend itself to introspection. And yet McCartney doesn't really tell us much about McCartney. As a songwriter, he wasn't (and still isn't, really) the confessional type. To a degree, McCartney is an actor whose medium is his songs. His love for Linda, expressed so ebulliently on "Maybe I'm Amazed", was certainly genuine, but he wrote this eventual FM-radio staple as a classic, universal love song. When presented with the opportunity to let his guard down and show us his unvarnished self, Paul McCartney never did-- even in this intimate setting, his songs remain extroverted and devoted to achieving some measure of pop accessibility.
(Full version: rollingstone.com/music/music-album-reviews/mccartney-186057/) Review by Langdon Winner. May 14, 1970

01. The Lovely Linda (00:45)
02. That Would Be Something (02:41)
03. Valentine Day (01:43)
04. Every Night (02:39)
05. Hot As Sun / Glasses (02:08)
06. Junk (01:56)
07. Man We Was Lonely (03:01)
08. Oo You (02:49)
09. Momma Miss America (04:07)
10. Teddy Boy (02:24)
11. Singalong Junk (02:36)
12. Maybe I'm Amazed (03:53)
13. Kreen-Akrore (04:15)

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Various Artists - Nativity In Black: A Tribute To Black Sabbath (1994)

Year: October 4, 1994 (CD 1994)
Label: Columbia Records (US), CK 66335
Style: Heavy Metal, Thrash, Goth Rock, Doom
Country: U.S., England, Brazil
Time: 67:46
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

All of the tracks featured on the Nativity in Black albums cover material strictly from the band's 1970s heyday with vocalist Ozzy Osbourne. The title is derived from a widespread yet incorrect assumption surrounding the title of the Black Sabbath song "N.I.B.".
The band Bullring Brummies featured Black Sabbath founding members Geezer Butler and Bill Ward, along with vocalist Rob Halford, Obsessed/Saint Vitus guitarist Scott "Wino" Weinrich, and Fight guitarist Brian Tilse. Their cover of "The Wizard" on the first album is their only official recording, with the musicians coming together specifically for this recording.
The live recording of "War Pigs" by Faith No More was previously included on the band's live album, Live at the Brixton Academy.
1000 Homo DJs' version of "Supernaut" was originally released as a 12" single in 1990.
Pantera was originally supposed to appear on the first album with their recording of Planet Caravan but was left off. Instead, that song appeared on their 1994 release Far Beyond Driven
Biohazard was featured in a music video for the song After Forever which was directed by Parris Mayhew of Cro-Mags and produced by Drew Stone
The album was certified Gold by the RIAA on 4 December 2000. Bob Chiappardi of Concrete Marketing was executive producer for the album. Megadeth's cover of "Paranoid" received a Grammy nomination in 1995 for 'Best Metal Performance'.
(en.wikipedia.org/wiki/Nativity_in_Black:_A_Tribute_to_Black_Sabbath)

01. After Forever (Biohazard) (05:46)
02. Children Of The Grave (White Zombie) (05:49)
03. Paranoid (Megadeth) (02:31)
04. Supernaut (1000 Homo DJs) (06:39)
05. Iron Man (Ozzy Osbourne and Therapy) (05:25)
06. Lord Of This World (Corrosion Of Conformity) (06:25)
07. Symptom Of The Universe (Sepultura) (04:15)
08. The Wizard (Bullring Brummies) (05:01)
09. Sabbath Bloody Sabbath (Bruce Dickinson and Godspeed) (05:36)
10. N.I.B. (Ugly Kid Joe) (05:28)
11. War Pigs (Live) (Faith No More) (07:02)
12. Black Sabbath (Type O Negative) (07:45)

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Nazareth - Expect No Mercy [Japan Ed.] (1977)

Year: November 1977 (CD Aug 21, 1991)
Label: Metal Mania (Japan), TECP-23936
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 36:02
Format: Flac Tracks 16/44,1 kHz
Size: 228 Mb

On this 1977 album, Nazareth makes a full-blooded return to the hard rock sound they had neglected since their success with Hair of the Dog. The result is a potent, driving slab of hard rock that will please Nazareth fans and devotees of 1970s hard rock alike. The album sets its frenzied tone right off the bat with its title track, a blistering rocker that features Dan McCafferty spitting out a sharp-edged vocal about life's cruelty over a series of fast and relentless guitar riffs. The remainder of the album prominently features a similarly brutal string of rockers: standouts include "Revenge Is Sweet," a paean to getting even that combines chugging guitar riffs with a stomping beat, and "Gimme What's Mine," a fierce declaration of dominance that layers Southern rock-styled riffs over a churning bassline. Despite this preponderance of hard rocking tunes, Expect No Mercy isn't just a guitar-fest. It also takes time to explore country-rock (there is an excellent, rocked-up cover of the country standard "Busted" as well as a honky tonk-style original called "Place in Your Heart") and even a little bit of funk (a hard-grooving slice of funk-rock fusion called "New York Broken Toy"). The album never takes the daring stylistic chance within the hard rock formula that distinguished Razamanaz or Hair of the Dog, but this is minor quibble in light of the album's high levels of consistency and quality. In short, Expect No Mercy is a treat for Nazareth fans and a solid listen for any hard rock fan who wants a good indication of the group's style.
(allmusic.com/album/expect-no-mercy-mw0000654492)

01. Expect No Mercy (03:27)
02. Gone Dead Train (03:45)
03. Shot Me Down (03:34)
04. Revenge Is Sweet (03:07)
05. Gimme What's Mine (03:45)
06. Kentucky Fried Blues (03:18)
07. New York Broken Toy (03:42)
08. Busted (03:46)
09. Place In Your Heart (03:05)
10. All The King's Horses (04:28)

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Wild Turkey - Live In Edinburgh (1973)

Year: 1973 (CD 2001)
Label: Audio Archives (UK), AACD 043
Style: Hard Rock, Rock
Country: Great Britain
Time: 50:07
Format: Flac Tracks 16/44,1 kHz
Size: 322 Mb

Wild Turkey was a hard rock band who was born when bassist Glenn Cornick, after leaving Jethro Tull,  teamed up in 1971 with other musicians to form a band: Graham Williams (guitar), Alan 'Tweke' Lewis (guitar), John "Pugwash" Weathers (drums) and Gary Pickford-Hopkins on vocals. Weathers and Williams left to join Graham Bond's Magick before Wild Turkey recorded any material. They were replaced by Jon Blackmore (guitar and vocals) and Jeff Jones (ex-Man) (drums) who joined Cornick, Tweke and Gary to record Wild Turkey's first album Battle Hymn. The album was promoted on UK and US tours supporting Black Sabbath.
Peel appeared enthusiastic when playing a session from Wild Turkey, calling them a "much improved band" who got "better, better and better" each time he heard them. However, the band was very short lived (they disbanded in early 1974 after only two years of activities), so he didn't seem to have played much music from them. When the band reformed for the first time in 1996, Peel's musical interest had moved towards other genres, so there was no reaction from him. Due to the band's "underground" popularity, we can only speculate if he was even aware of their reunion!
(peel.fandom.com/wiki/Wild_Turkey)

- Bass: Glenn Cornick (ex-Jethro Tull)
- Drums: Jeff Jones (ex-Man)
- Guitar: Bernie Marsden (ex-Whitesnake), Mick Dyche
- Keyboards: Steve Gurl
- Vocals, Harmonica, Liner Notes: Gary Pickford-Hopkins (ex-Rick Wakeman)

01. Good Old Days (04:21)
02. Sweet Talkin` Woman (07:04)
03. Eternal Mother / The Return (07:57)
04. Social World (08:13)
05. Traffic Island Jam (22:31)

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Bon Jovi - New Jersey [Vinyl Rip. Russian Ed.] (1988)

Year: September 19, 1988 (LP 1989)
Label: Melodia Records (USSR), A60 00551 008
Style: Hard Rock, Arena Rock
Country: Sayreville, New Jersey, U.S. (March 2, 1962)
Time: 57:49
Format: Flac Tracks 16/44,1 kHz
Size: 418 Mb

Charts: US #1, AUS #1, AUT #5, CAN #1, FIN #2, GER #4, NL #13, SWE #1, SWI #1, UK #1. AUT, FIN, GER, SPA & SWI:: Platinum; UK & AUS: 2x Platinum; CAN: 5x Platinum; US: 12x Platinum (Diamond).
Bon Jovi intended to take time off and recharge after completing their 16-month tour in support of Slippery When Wet. A month, to be exact. Then they started working on New Jersey.
"We really didn’t do anything for three or four weeks," Jon Bon Jovi told Classic Rock. Hot on the heels of the best-selling album of 1987, Jon Bon Jovi and guitarist Richie Sambora wasted no time on writing the follow-up. Both men lived in New Jersey and their check-ins with each other shifted from personal to business. "They changed from ‘What’re you doing today?’ to ‘I got this really neat hook!’" Bon Jovi added.
By Thanksgiving 1987, they were in full writing mode; by Christmas, Bon Jovi had more than an album's worth of material but something was amiss.
"We demoed the first batch of songs, 17 in all and we really started to feel the pressure because we didn’t have the amazing song," Bon Jovi told Classic Rock. "I panicked, to be honest. I really wanted to do it again. Not for the monetary reasons, but it was such an amazing feeling to have done what we’d done. … I’m walking around the house yelling, ‘I gotta pay for this place. We’ve got to write some fucking hot songs!’"
While it would have been easy to record the first 10 songs they wrote, Sambora was obstinate about not repeating themselves. "The last thing we wanted to do here was put out Slippery Part 2" he said.
As Bon Jovi rolled into 1988, they continued writing, eventually bringing key collaborator Desmond Child into the process, along with Diane Warren and Holly Knight. Ultimately, the band penned 34 new songs and planned on making a double album until they met serious resistance from their record label, which was dead set against it.
(Full version: rollingstone.com/music/music-album-reviews/new-jersey-250877/)

01. A1 Lay Your Hands On Me (06:00)
02. A2 Bad Medicine (05:17)
03. A3 Born To Be My Baby (04:40)
04. A4 Living In Sin (04:41)
05. A5 Blood On Blood (06:17)
06. B1 Homebound Train (05:12)
07. B2 Wild Is The Wind (05:10)
08. B3 Ride Cowboy Ride (01:28)
09. B4 Stick To Your Guns (04:45)
10. B5 I'll Be There For You (05:49)
11. B6 99 In The Shade (04:27)
12. B7 Love For Sale (03:58)

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Emerson, Lake & Powell - Emerson, Lake & Powell [Vinyl Rip. Russian Ed.] (1986)

Year: 26 May, 1986 (LP 1987)
Label: Melodia Records (USSR), C60 26463 008
Style: Symphonic Rock, Art Rock
Country: London, England
Time: 42:49
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Powell died on 5 April 1998 following a car crash while driving his Saab 9000 at 104 mph (167 km/h) in bad weather on the M4 motorway near Bristol. He had been dating a married woman who was having problems with her husband. Upset, she phoned him and asked him to come quickly to her house which was approximately 35 miles (56 km) away. As he was driving to her house, she phoned him again and asked "Where are you?" He informed her he was on his way and she then heard him say "Oh shit!" followed by a loud bang.
Recorded in England in 1985 and early 1986, Emerson, Lake and Powell was produced by Lake and engineer Tony Taverner. Beyond the eight tracks of the original 1986 album, these sessions produced two further tracks that would be featured on later album issues. A unique instrumental jam rendition of the Goffin/King pop hit “The Loco-Motion” was an obvious attempt at some radio notoriety, while “Vacant Possession” is a decent, melancholy pop ballad surprisingly left off the album proper.
The album begins with its longest track, “The Score”, featuring Emerson’s fanfare boards and animated rudiments by Powell during extended, nearly four-minute-long intro. When Lake’s vocals finally enter mid-song, it is clear that this track is a sequel to earlier work with the refrain “Welcome Back My Friends to the Show That Never Ends”, famously lifted from the opening line of “Karn Evil 9: First Impression, Part 2” from their 1973 Emerson, Lake and Palmer album Brain Salad Surgery, as well as the title to the subsequent 1974 live album from that album’s tour.
“Learning to Fly” is more in line with a mid-eighties pop song, driven by synth motifs, steady bass and simple drum rhythms with little to no guitar. Still, this is not an unpleasant listen with good melodies by Lake as he delivers a slightly profound lyric. “The Miracle” is a long, narrative-fueld song with a dramatic, doomy entrance which lifts a bit during the refrain sections. Later, the song settles into a steady rhythm for the middle bridge section of this seven-minute tune.
The album’s second side features more standard length, pop-oriented tracks, starting with the album’s only single, “Touch and Go”. Here we have catchy intro and interlude synths broken by verses driven by Lake’s melodic vocals. “Love Blind” sounds more like a soundtrack montage than a standard song, albeit Powell’s drumming is fine throughout, while “Step Aside” offers a cool break and true highlight of this second side, as a unique jazzy piano tune where all three members work the vibe well with Emerson leading the way. After the forgettable “Lay Down Your Guns”, the trio cleanse their palate of sappiness with a jam of the dramatic classical movement, “Mars, the Bringer of War”, a song Lake performed with King Crimson a decade and a half earlier.
After a short tour to support the album, Emerson, Lake & Powell disbanded as quickly as they formed. In 1992 the original ELP lineup reformed with Palmer for the album Black Moon, an album with a similar style to this Emerson, Lake & Powell album.
(Full version: classicrockreview.com/2021/05/1986-emerson-lake-powell/)

01. A1 The Score (09:08)
02. A2 Learning To Fly (04:02)
03. A3 The Miracle (06:48)
04. B1 Touch And Go (03:38)
05. B2 Love Blind (03:10)
06. B3 Step Aside (03:46)
07. B4 Lay Down Your Guns (04:22)
08. B5 Mars, The Bringer Of War (07:51)

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The Jimi Hendrix Experience - Are You Experienced [6 bonus tracks] (1967)

Year: August 23, 1967 (CD 1997)
Label: MCA Records (Canada), MCASD-11602
Style: Blues Rock, Psychedelic Rock
Country: Seattle, Washington, U.S. (November 27, 1942 - September 18, 1970)
Time: 60:19
Format: Flac Tracks 16/44,1 kHz
Size: 398 Mb

Charts: US #5, UK #2, CAN #15, GER #17, NOR #3. US: 5x Platinum; UK: Gold.
An extraordinary debut by The Jimi Hendrix Experience, Classic Rock Review has named Are You Experienced? as our Album of the Year for the phenomenal music year of 1967. On this album, the sound is harder and heavier than anything else from 1967, yet it is not in the slightest bit unfocused. Led by the extraordinary talent of Jimi Hendrix, the Experience was an unheralded act as a group, especially when it came to the wild and entertaining drumming of Mitch Mitchell. Along with bassist Noel Redding, this power trio released the most stunning debut in rock history and one of the greatest albums of all time.
The sound forged on the album synthesized elements of 1967 psychedelic rock with traditional rock, blues, and soul. This was all topped off by the proficient and original guitar work by Hendrix, who used cutting edge techniques and technology to create sounds never before heard. Hendrix also composed solid songs, rooted in heavy blues and roots rock. This, along with the frantic but solid rhythm by Redding and Mitchell, gave Hendrix the perfect canvas on which to paint his guitar masterpieces.
Producer Chas Chandler helped form the Jimi Hendrix Experience in England in 1966 and signed the group with Track Records, a label run by The Who’s managers Kit Lambert and Chris Stamp. The group started with three singles, recorded in-between tours of England in late ’66 and early ’67. All three (“Hey Joe”, “Purple Haze”, and “The Wind Cries Mary”) reached the top 10 on the UK charts. The original album was released in the UK in May, 1967 without the three singles (or B-sides), but the subsequent US version did include the singles in order to maximize the impact of the group in the States, where they were still relatively unknown. At the suggestion of Paul McCartney, the Experience debuted in America at the Monterrey Pop Festival on June 18, 1967.
Some of the tracks not included on the US version (but available on other versions) include the pure blues “Red House” with its wailing lead guitar and the Cream-influenced “Can You See Me”, with double-tracked vocals over a strong, riff-driven rocker. “Stone Free” is frenzied but with a good hook and “Highway Chile” has a more modern sound with a funky shuffle and R&B pattern.
(Full version: classicrockreview.com/2012/08/1967-jimi-hendrix-experienced/)

01. Purple Haze (02:50)
02. Manic Depression (03:42)
03. Hey Joe (03:30)
04. Love Or Confusion (03:12)
05. May This Be Love (03:10)
06. I Don't Live Today (03:54)
07. The Wind Cries Mary (03:20)
08. Fire (02:43)
09. Third Stone From The Sun (06:44)
10. Foxey Lady (03:18)
11. Are You Experienced (04:15)
12. Stone Free (bonus track) (03:35)
13. 51st Anniversary (bonus track) (03:15)
14. Highway Chile (bonus track) (03:32)
15. Can You See Me (bonus track) (02:32)
16. Remember (bonus track) (02:48)
17. Red House (bonus track) (03:50)

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UFO - Force It [Vinyl Rip 2LP. 180g. Studio & Live] (1975)

Year: July 1975 (LP September 10, 2021)
Label: Chrysalis Records (UK), CRVX 1422
Style: Hard Rock
Country: London, England
Time: 37:39, 57:42
Format: Flac Tracks 16/44,1 kHz
Size: 280, 362 Mb

Deluxe digitally remastered and expanded edition includes the Record Plant live set and bonus track "A Million Miles". Originally released in 1975, Force It is UFO's fourth studio album. Produced by Ten Years After's Leo Lyons, it was their first album to chart in the US and enabled the band to kick up a rockier gear. Containing many classic tracks still in their live set today, such as "Shoot Shoot" and "Let It Roll", this newly remastered 2LP gatefold deluxe version includes the Record Plant live set which was previously unavailable on vinyl.
More straight forward and edgier than their previous effort Phenomenon, Force It presents yet another change in style for UFO, and the result is quite excellent...
Force It, the second album by UFO that Michael Schenker appears on (and their fourth album in all), shows even more improvement in songwriting and the overall sound of the band. Phenomenon showed the start of something great, and Force It took that great to another level. Phenomenon still somewhat hung on to that "space rock" sound that the band started out making in the first place, but Force It completely ditches that sound, replacing it with straight forward rock. Michael Schenker gets to shine, and start showing his real style as a guitarist. Phil Mogg also shows a more aggressive vocal style than previous albums.
The whole album incorporates more guitars and solid fast grooves, with melody added by Phil Mogg, and solid drumming by Andy. The opener "Let it Roll" may be Phil's most aggresive vocal performance to date, with him shouting and yelling the lyrics, but pulls it off nicely. "High Flyer" is the only ballad on the album, and slows things down which is a nice addition to Force It. "Out in the Street" is the most dynamic song, featuring pianos, tempo changes, and excellent vocals. The grooving "This Kid's" and "Dance your Life Away" both feature some of band members best performances.
One of UFO's best albums, this is recommended if you are a fan of great guitar playing, and 70's rock. The entire album can be played through without skipping a track, and not many albums can have that said about them. Just please do yourself a favor and check it out!
(sputnikmusic.com/review/53678/UFO-Force-It/)

Album Art: Covers a high resolution

01. A1 Let It Roll (03:55)
02. A2 Shoot Shoot (03:35)
03. A3 High Flyer (04:04)
04. A4 Love Lost Love (03:20)
05. A5 Out In The Street (05:12)
06. B1 Mother Mary (03:47)
07. B2 Too Much Of Nothing (03:58)
08. B3 Dance Your Life Away (03:31)
09. B4 This Kid's Including Between The Walls (06:12)

Live At The Record Plant, Los Angeles, 1975:
01. C1 Intro (01:13)
02. C2 Let It Roll (05:01)
03. C3 Doctor Doctor (05:15)
04. C4 Oh My (04:14)
05. C5 Built For Comfort (04:44)
06. C6 Out In The Street (05:28)
07. C7 Space Child (04:42)
08. D1 Mother Mary (04:40)
09. D2 All Or Nothing (04:44)
10. D3 This Kid's (04:38)
11. D4 Shoot Shoot (03:50)
12. D5 Rock Bottom (09:08)

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Camel - Stationary Traveller (1984)

Year: 13 April 1984 (CD 1990)
Label: Deram Records (Germany), 820 020-2
Style: Art Rock, Pop Rock, Symphonic Rock
Country: Guildford, Surrey, England
Time: 42:18
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

""Stationary Traveller" is probably a little less musically elaborate than the Camel's records that will follow, but it has that little almost quaint charm that the others don't have."
But what can we expect musically in this last Camel of the 80s? Well, we have to admit that the first listening is a bit confusing. Not that we don't find the style of Camel which is always present. Andrew Latimer's voice or more exactly his way of singing is easily recognizable as well as his guitar playing, especially on the instrumental tracks. But most of the sung tracks have a very 80s sound. And the progressive aspect is not necessarily obvious.
In fact, you just have to get used to this rather mechanical drumming and these typical "eighties" keyboards which even give it a certain charm... The 'Refugee', 'Vopos', 'Cloak And Dagger Man' and 'West Berlin' end up being very pleasant to listen to. And finally, one surprises oneself to like them. But the best tracks are the excellent and very melancholic 'Fingertips' and 'Long Goodbyes'. The first one, carried by the saxophone of Mel Collins is a delight, as for the second one, it is a real jewel with its chorus remaining engraved in the head for a long time and its superb guitar solo. In the instrumental section, as usual with Camel, it's always the great class! The eponymous title for example has a superb piano part and its acoustic guitar is magnificent. 'Missing' and the famous extended version of 'Pressure Points' are also excellent tracks.
The compositions are on the whole quite direct and it is still on the level of the atmospheres that the main part of the work is done. As always, Andrew Latimer knows how to compose very good tracks. "Stationary Traveller" is probably a little less elaborated musically than the records that will follow, but it possesses this little almost old-fashioned charm that the others don't have.
(Official website: camelproductions.com)

01. Pressure Points (Instrumental) (02:10)
02. Refugee (03:47)
03. Vopos (05:32)
04. Cloak And Dagger Man (03:55)
05. Stationary Traveller (Instrumental) (05:34)
06. West Berlin (05:10)
07. Fingertips (04:29)
08. Missing (Instrumental) (04:22)
09. After Words (Instrumental) (02:01)
10. Long Goodbyes (05:14)

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Van Halen - Women and Children First [Vinyl Rip] (1980)

Year: March 26, 1980 (LP 2020)
Label: Warner Records (Worldwide), RR1 3415 081227954963
Style: Hard Rock
Country: Pasadena, California, U.S.
Time: 33:29
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: US #6, CAN #12, NLD #3, SWE #19, NOR #23, GER #19, NZ #48, UK #15. Netherlands and France: Gold; Canada: 2x Platinum; US: 3x Platinum.
Van Halen toss melody — along with subtlety and good manners — straight out the barroom door. Specializing in decibels and cock-strutting bravado, they put forth the proposition that Might Is Always Right, and the proof on their third LP, Women and Children First, is pretty convincing. "Romeo Delight," "Everybody Wants Some!!" and the mad, triple-time dash, "Loss of Control," are works of high-volume art. Each features banshee guitars, hellish drumming, lead vocalist David Lee Roth’s cries of hedonistic ecstasy, and ensemble harmonies that sound like the Byrds singing through a sewer pipe — all violently competing for attention in an explosive sound mix.
But underneath the noisy chutzpah, Roth and his mob are exceptionally good players. This is especially true of guitarist Eddie Van Halen, who harnesses feedback almost as well as Jimi Hendrix did and displays smarts plus speed in his solos. As for David Lee Roth and his big mouth, he puts up a lot better than he shuts up, baying at the moon with far more spirit and comic panache than most of his competition. Megalomania of this kind is an acquired taste, yet the haste with which Women and Children First bullied its way into the Top Ten suggests that there’s a little Van Halen in everybody.
Like it or not, heavy metal is here, there and everywhere. What they may lack in innovation, the Scorpions make up for in sheer amplified power, while Van Halen swagger confidently past their own limitations and Def Leppard fall back on youthful naivete, enthusiasm and talent. To their credit, these bands have managed to tap some fresh energy from a source that apparently never went dry.
(Full version: rollingstone.com/music/music-album-reviews/women-and-children-first-188484/)

01. A1 And The Cradle Will Rock (03:32)
02. A2 Everybody Wants Some (05:08)
03. A3 Fools (05:55)
04. A4 Romeo Delight (04:19)
05. B1 Tora! Tora! (00:56)
06. B2 Loss Of Control (02:37)
07. B3 Take Your Whiskey Home (03:12)
08. B4 Could This Be Magic (03:07)
09. B5 In A Simple Rhyme (04:39)

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Robert Plant (Led Zeppelin) - Now and Zen [Vinyl Rip] (1988)

Year: 29 February 1988 (LP 1988)
Label: Es Paranza Records (Germany), WX 149 790 863-1
Style: Hard Rock, Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 41:45
Format: Flac Tracks 16/44,1 kHz
Size: 294 Mb

Charts: UK #10, AUS #11, CAN #4, GER #48, NLD #31, NOR #12, NZ #7, SWE #18, US #6. UK: Gold; US: 3x Platinum.
This record is some kind of stylistic event: a seamless pop fusion of hard guitar rock, gorgeous computerization and sharp, startling songcraft. Now and Zen, Robert Plant‘s fourth solo album, is so rich in conceptual invention that you barely notice that Plant sings better on it - with more tone, control and rhythmic acuity - than he has in the seven years since Led Zeppelin imploded. Better, in some ways, than ever.
The punning title is apt. The nine tracks on Now and Zen don’t simply sound contemporary; they point to new ways to transmute roots-rock verities of swing and harmony amid the technological conventions of late-Eighties pop. At the same time the songs show Plant humanizing and enlivening the cool synthetic sound of such Euro-synth units as Kraftwerk and D.A.F. In addition, there is a certain pop-Zen aspect to such songs as "The Way I Feel," in which Plant sings, "The future rides beside me/Tomorrow in his hand/The stranger turns to greet me/Take me by the hand" - one of the wittier lyrical loops since Lou Reed walked hand in hand with himself through the vinyl grooves of Loaded.
(Full version: rollingstone.com/music/music-album-reviews/now-and-zen-250871/)

01. A1 Heaven Knows (04:05)
02. A2 Dance On My Own (04:23)
03. A3 Tall Cool One (04:35)
04. A4 The Way I Feel (05:34)
05. B1 Helen of Troy (05:03)
06. B2 Billy's Revenge (03:32)
07. B3 Ship of Fools (04:54)
08. B4 Why (04:09)
09. B5 White, Clean and Neat (05:25)

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Robert Plant (Led Zeppelin) - Band Of Joy [Vinyl Rip. 2LP 180g] (2010)

Year: 13 September 2010 (LP 14 September 2010)
Label: Es Paranza Records (Europe), 2748338
Style: Rock, Folk Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 47:41
Format: Flac Tracks 16/44,1 kHz
Size: 317 Mb

Charts: UK #3, AUS #18, CAN #7, GER #13, NLD #37, NOR #2, NZ #6, SWE #6, SWI #13, US #5. Switzerland & UK: Gold.
Robert Plant‘s 2007 album with pop-bluegrass songbird Alison Krauss, Raising Sand, did something 25 years of solo records never quite managed: It fully transformed him from former Led Zeppelin golden god into a roots singer. Plant had never sung so tenderly or collaboratively, commanding a crack modern string band that defined power in terms other than Physical Graffiti.
Band of Joy named after Plant’s first band with late pal John Bonham smartly takes some cues from Raising Sand. Plant uses an A list of country voices and players (Patty Griffin, Buddy Miller) and an inspired mix of vintage and modern songs. If it’s not quite as seamless and sublime a record, well, it’s pretty damn good, and what it lacks in coherence it makes up for in magnified rock & roll mojo.
Miller helps with the latter. The journeyman guitarist-songwriter (and former Emmylou Harris collaborator) co-produced the record with Plant, and he contributes muscular playing and singing. His guitar is low and nasty on the lead cut, a coiled, mandolin-dusted cover of Los Lobos’ "Angel Dance." And he opens up on "House of Cards," a cover of Richard Thompson’s scalding 1978 folk rocker, bright leads carving the air while Plant and Griffin’s harmonies recall Zep’s "The Battle of Evermore."
But what’s most striking is Plant’s vocal versatility. As a solo act, his songwriting has been spotty, if impressively versatile. But he’s proved himself to be an excellent interpreter, from his 1984 Honeydrippers EP of old-school R&B and pop through Raising Sand. He does the same here, and the songs give him plenty to work with. He returns to the late, great Townes Van Zandt (whose "Nothin’ " was a highlight on Sand) for the bleak "Harm’s Swift Way," working a metaphor that turns the idea of time into a woman beyond a man’s control. Plant doesn’t oversing a whit, delivering poetic meditations on mortality with Griffin’s harmonies clinging to him like a spangled death shroud.
The two most striking songs are the most left-field, both penned by the brooding husband-wife indie-rock band Low. "Silver Rider" is a glittering dirge, another showcase for Griffin, who’s such a good songwriter that’s it’s easy to forget what a great singer she is. Plant sings "Monkey" almost as a whisper. "It’s a suicide/Shut up and drive," he snarls, in what sounds like the opening scene of a David Lynch film. It’s as menacingly restrained as anything he’s ever uttered.
This is a record primarily about loss and time’s march, and Plant sings with gravity, working his middle range. It doesn’t all click. "Even This Shall Pass Away" tries too hard for profundity. And the old spiritual "Satan Your Kingdom Must Come Down" mostly makes you want to hear Plant back cruising Lucifer’s daughter on "Houses of the Holy."
But Plant isn’t singing like the old days. The closest he comes is "You Can’t Buy My Love," first recorded in 1965 by R&B singer Barbara Lynn. Plant knocks it out playfully, like a lost demo from Led Zeppelin I, with a few hollers and sexy woo-oh-ohs. And in 3:10, it’s over. You can’t buy his love, and you can’t turn back time. It’s a notion other rock vets could do well to ponder.
(rollingstone.com/music/music-album-reviews/band-of-joy-99294/)

01. A1 Angel Dance (03:50)
02. A2 House Of Cards (03:13)
03. A3 Central Two-O-Nine (02:48)
04. A4 Silver Rider (06:05)
05. B1 You Can't Buy My Love (03:10)
06. B2 Falling In Love Again (03:37)
07. B3 The Only Sound That Matters (03:45)
08. B4 Monkey (04:59)
09. C1 Cindy, I'll Marry You Someday (03:36)
10. C2 Harm's Swift Way (04:18)
11. C3 Satan Your Kingdom Must Come Down (04:12)
12. C4 Even This Shall Pass Away (04:03)

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